In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.

I don't write poetry and then strum some chords and then fit the words on top of the chords.

The orchestra's an amazing instrument, but I don't want to just arrange my songs for it. I think that might be kind of boring and a little bit overdramatic, perhaps. I'm still just having too much fun doing it my way, for the time being.

There's always that struggle between me wanting to keep [song] new and fresh and then be - I can never get with pop songs being so repetitive.

I finished touring the last record and I started recording new .I never really left the bubble, which is I think a good thing. I was just very focused. Maybe I should have taken a break or something, and not done such a long push.

The real drag is trying to fly from country to country, day of show, with all your gear. You get hassled all the time. It's hard trying to keep it together.

I don't like super-descriptive modern fiction. I like, "Here's what was happening in 1582 all over the planet." Then that gets my imagination going.